Contact David directly if you are interested.
Begin forwarded message:
> From: David.Millstone(a)valley.net (David Millstone)
> Date: April 28, 2005 7:19:30 PM EDT
> To: (Recipient list suppressed)
> Subject: Wanted! New callers!
> Reply-To: millstone(a)valley.net
>
> Calling all potential callers!
>
> I'm looking at the possibility of starting up a class in the fall for
> people who
> would like to learn to call traditional American dance-- contras,
> squares, and
> other related dances. Your interest might be in calling at a regular
> dance
> series with experienced dancers, or you might be inclined toward the
> repertoire
> of dances that are useful for working with children, family groups,
> and other
> less-experienced dancers.
>
> I have a calling apprentice at the moment, with funding provided
> through the
> Vermont Folklife Center, and that's been a good one-on-one
> arrangement. One
> difficulty, though, has been that it's hard to practice in the absence
> of
> dancers; this is especially true when trying to teach a dance, which
> in many
> cases is harder than the actual calling. This next time around, I'm
> thinking
> that having a small group (eight people would be ideal) might work
> well.
>
> I'm open to working with all ages, and I'm especially hopeful that
> some of our
> younger dancers might take a step toward becoming callers. We do have
> some good
> younger musicians in the area and it's fun to contemplate a new
> generation
> inheriting our thriving dance scene.
>
> So, would you like to learn how to be the person on the other side of
> the
> microphone?
>
> I'm imagining a regular series of meetings, once or twice a month,
> starting in
> the fall of 2005 and running through spring of 2006. We'd meet as a
> group and
> participants would have opportunities to practice on each other and to
> offer
> support and encouragement. I'll share my thoughts as well, will direct
> you to
> helpful resources, and will offer specific suggestions as well. I'd
> hope that
> the members of the group could call at area dances. I know I'd be
> happy to have
> a "new caller" slot at our monthly Northern Spy dances.
>
> Before putting more effort into planning this project, however, it'll
> be helpful
> to know if there are enough possible participants. Please let me know
> sometime
> in the next week or two if this is something you might enjoy doing.
> Once I have
> a list of interested folks, we can talk more and figure out the details
> together. You can phone me at 603-448-29050 or simply reply to this
> e-mail.
>
> Looking forward to working with some of you!
>
> David Millstone
>
Come out and call!
Begin forwarded message:
> From: Rebecca Hollingsworth <rebeccarebecca(a)verizon.net>
> Date: April 29, 2005 2:45:09 PM EDT
> To: pvcd(a)yahoogroups.com
> Subject: [pvcd] Montague dance Sunday, May 1
> Reply-To: pvcd(a)yahoogroups.com
>
> For all who haven't seen flyers or been otherwise reminded: The next
> Montague dance is this Sunday, May 1, at the grange hall by the common
> in Montague Center.
>
> Co-host callers are Lisa Sieverts and David Kaynor, both of whom
> encourage other callers and proto-callers to take a turn; music is by
> the All-Comers Band, which can be joined on the spot by anyone who has
> an acoustic instrument that will fit in or near the stage. Most
> members of this totally ad-hoc group play some and dance some; at
> this
> dance, the line between the stage and the dance floor is the merest
> shadow of a concept.
>
> Dancers are also welcome. Admission is by self-determined donation
> (i.e., you decide how much to toss in the fiddle case). All proceeds
> from this particular dance will go to a local family that has incurred
> some heart-breaking medical expenses.
>
> Potluck at 6:00; dance starts at 7:30 with a Grand March. See David
> Kaynor's recent e-mail for details on events earlier in the day. We
> expect that there will be a number of long-time grange members present
> for at least the beginning of the evening. This could be a great, and
> fun, chance for the spheres to intersect.
>
> Becky
> rebecca(a)fastermac.net
>
>
> Yahoo! Groups Links
> • To visit your group on the web, go to:
> http://groups.yahoo.com/group/pvcd/
>
> • To unsubscribe from this group, send an email to:
> pvcd-unsubscribe(a)yahoogroups.com
>
> • Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> Service.
>
In addition to developing calling skills, some of you may also be developing
your dance band instrumental skills. If so, you're invited to bring your
instrument and join the band at a fifth Saturday contra dance sponsored by
the Falmouth Fiddlers Association. Saturday, April 30, 2005, 8:00 - 11:00
pm, North Falmouth Congregational Church Hall, 155 Old Main Street, North
Falmouth, Massachusetts. $6 admission.
More info about this event, and travel directions, at
http://www.schoonerflagpoles.com/DanceFF.html
More info about Falmouth Fiddlers Association at
http://www.schoonerflagpoles.com/falmouthfiddlers.htm
Falmouth Fiddlers Association, 508-563-9494, falmouthfiddlers(a)yahoo.com
----------------------------------------------------
Robert Jon Golder
164 Maxfield Street robertgolder(a)comcast.net
New Bedford, MA 02740 (508) 999-2486 voice
Please post
We are starting up our 2005 contra dance series in Gorham, New
Hampshire this Saturday, April 9, at 7:30 p.m,
The callers we were hoping to get are going to NEFFA or elsewhere that
evening, so we are having open caller night. If you would like to
come, great. If you know of any callers just staring out, and want to
practice, let them know. It will be an informal event.
Local musicians, "Shelburne Addition" will be playing.
Let me know if you can make it.
Marlena BabZ Schilke
Director, Chapel Arts New England
www.chapelartsne.com
Chapel Arts is located on Route 16, facing Gorham Town Common, at the
intersection with Route 2, 10 miles north of Mt. Washington.
Overnight accomodation available.
Dear Chris:
Head Of The Bed by Nils Fredland is my favorite becket dance of all time.
There are few dance with three swings in them that feel so good and so
natural in the dance, and of course the finally roll away into your partner
arms is perhaps one of the most brilliant transitions into a swing that has
ever been written. I first heard the dance called be Nils Fredland himself
at the Guilding Star Grange in Greenfield Ma, Labor Day Weekend 2004. So
after this, I brought this dance to the Nelson dance, where it is called
from time to time. If I remember correctly, I believe in A2, it is actually
a promenade not a right and left through. I really think that the promenade
is perhaps one of the gems in the dance, which goes to enhance the
connection between the dancers.
I would check with your sources about the dances, but I am 99.9% sure that
is a promenade. Well, as always good luck with your calling.
Thanks,
Jeff Petrovitch
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net]On Behalf Of
callers-request(a)sharedweight.net
Sent: Sunday, February 27, 2005 10:05 AM
To: callers(a)sharedweight.net
Subject: Callers Digest, Vol 6, Issue 8
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Today's Topics:
1. New Voices, Flurry and VFW (Chris Weiler)
----------------------------------------------------------------------
Message: 1
Date: Sun, 27 Feb 2005 13:02:44 -0500
From: Chris Weiler <chris.weiler(a)weirdtable.org>
Subject: [Callers] New Voices, Flurry and VFW
To: callers(a)sharedweight.net
Message-ID: <42220B44.5020007(a)weirdtable.org>
Content-Type: text/plain; charset="us-ascii"
Well, it's been a busy couple of weeks, and boy is my body letting me
know it. I've been laid up with a cold the last couple of days. So here
is what's been happening with the calling side of my life (I guess I
don't need to warn you by now that this is going to be a long e-mail):
New Voices
The New Voices dance was quite a success. All of us (Seth Seeger, Jenna
Watson, Cortni Frecha, Nathaniel Jack, Mark Jones and myself) did very
well. We had a good crowd (I estimated 60-70 people, Mark probably has a
better count) of experienced dancers. We also had great music by Mike
Ames, Lissa Schneckenberger (sp!) and Bruce Rosen, who were a delight to
work with on stage. My own personal breakthrough that night was that it
was the first time that I felt comfortable on-stage. Instead of my
nervous energy making me hesitant, I directed it into my calling. It was
a great feeling. I called two of my favorite dances that I hadn't called
before: Mary Cay's Reel and 333-33. I knew that 333-33 was going to be a
challenge, and it was. I worked hard with a form to work out the words
(which I created first). The form I used is attached if people are
interested. Then I practiced (mostly in the car) calling into a tape
recorder. The prep work really paid off at the dance.
Dance Flurry
The next weekend was the Dance Flurry in Saratoga Springs, NY. This is
one of my favorite dance festivals with lots of great dancing, workshops
and great people. There were 4 callers workshops during the festival and
each had their own focus.
The first was Joseph Pinmentel's workshop. He talked about the 3 stages
of being a caller: the first is where you're learning the basics (call
timing, word choice, parts/structure of the music, etc.), the second he
called "flight time" or practice time, and the third I think he called
the "process". The third stage was the focus of the workshop. The
"process" he was referring to was the cycle of feedback and learning
that happens when you're calling regularly. Specifically he put it in
terms of the observation cycle: take an action, observe the results,
decide what you think about the results, and back to the beginning with
taking another action. The part that he observed that most callers had
with this cycle was that the feedback was hard to filter away from the
junk around it. For example when someone comes up to you after a dance
and says: "you called a dance without a neighbor swing. Your calling
stinks." His suggestion was that you look for the kernel of good
information in any feedback you get. In the example, you take away the
information that calling a dance without a neighbor swing made a dancer
unhappy. Then you can decide if you're going to call a dance without a
neighbor swing the next time without the defensive reaction to the
statement. It also means that you can handle the situation better
because you can honestly thank the person for their useful feedback and
ignore the rest. Of course this is harder than it seems. The rest of the
workshop we got up and danced and had different people calling the
dances. Then we sat down and made observations and Joseph helped us pick
out the kernels of good information in the statements. The funniest
moment in the class was when one of the people in the workshop made an
observation about a session earlier in the day where the caller didn't
run the dances long enough. The observer didn't realize that the caller
at that session was Joseph. 8^) You'll see by the lengths of my
descriptions that this was my favorite workshop.
The next workshop was Rick Mohr's. He focused on the basics of timing
and word selection. He talked about timing the words to music in order
to end the call at the correct moment. He had some great handouts for
this and we all practiced with a fiddler.
On Sunday, the first workshop was Ralph Sweet teaching singing squares.
He talked about the differences in patter calling and singing and the
kind of prep work necessary for singers. Coordinating with the band
seems to be the most important one. If you don't practice it, then most
likely you won't be able to be flexible with the calling to make sure
that the dancers are promenading at the chorus. He has published a nice
book full of squares and music that has some great material in it.
The last workshop I was late for, since I was having great fun at Rick's
Squantras and Contrares session. Peter Amidon was running a workshop
where he reviewed a handout with a few basics about calling, dance
selection and responsibilities. He then opened the floor to questions
and discussion. Most of the questions had to to with resources like
where to find dances to call and e-mail discussion groups like ours. I
have included a scan of Peter's two sided sheet.
VFW
After the New Voices dance I was very surprised to receive an e-mail
from Sue Rosen inviting me to call at the VFW as part of NEFFA night (a
multi-caller evening that happens 3-4 times a year). I was floored. I
was nervous. I said yes (how could I say no?). Being a regular dancer at
the VFW, I know what a demanding venue it is. I requested that Sue put
me in the first slot (1st dance of the evening with the first and second
after the break). Then I had to find dances that would go over well
there. I knew that one of my dances after the break would be either Mary
Cay's or 333-33 since they're fun dances and I already had the calling
and teaching worked out for them. I remembered a recent discussion on
trad-dance-callers about "Easy yet interesting" dances that I could use
for the first dance of the evening, but I was at a loss for the last
one. The digital voice recorder that I had been using to collect dances
had gone through the washing machine in my shorts the weekend before,
erasing about a dozen dances that might have done the job. I spent the
whole flurry collecting dances, but they were either too hard or too
easy for the VFW. It wasn't until the last session that I danced on
Sunday afternoon that I found just the right dance for after the break:
Nils Fredland's Head of the Bed. For those who are interested, I have
put it at the end of the e-mail.
So I had 3 days to prepare after I had my dance selection for the
evening. I had a few other things going on in my life, so I didn't
prepare as much as I would have liked. On top of things, I was running
flat out all week and got hit hard with a cold on Thursday. So I was
pretty miserable when I showed up at the VFW that night. At this point I
would like to praise the nasal decongestant spray that I bought at the
last minute. It kept my nose and throat clear through the evening and
allowed me to call. The evening is a haze to me, though. Because of the
snow, Linda Leslie wasn't able to make it that night. For a while, it
looked like it was going to be Bob Golder and myself. Erica Weiss showed
up a dance or two before she was scheduled to go on. Sue called Rick
Mohr and he was able to come and call a couple of dances during the
second half. This pretty much blew the schedule out of the water, so I
ended up calling the first two dances of the evening and the first after
the break. I called The Casbah Queens by David McMullen (which I got off
the trad-dance-callers list) and Forgotten Treasure as my first two
dances. Then I called Head of the Bed as the first one after the break.
All of which went over well. My teaching on Head of the Bed didn't go as
well as I wanted it to (I was reaching the limits of energy and
medicine), but the experience of the dancers made up for it and the
dance was a success. Great music by Lise Brown, Dave Langford and Bruce
Rosen combined with good material and lots of experienced dancers made
up for any mistakes I might of made that night.
Thankfully, my fuzzy head that night made it impossible to be nervous
about calling at the VFW. A few people came up to me afterwards and
mentioned that they didn't even know that I was sick until I told them.
One of the unfortunate things about getting sick was that I had to turn
down all of my favorite dance partners as they came up to ask me to
dance while I was sitting out.
Epilog
I have also attached a handout from Tony Parkes' workshop at the Ralph
Page weekend for your enjoyment. Once again, I'm hoping that you are
enjoying these e-mails and that those of you who are thinking about
taking the leap into calling are inspired to take another step.
All the best,
Chris Weiler
Head of the Bed
Nils Fredland
Becket
A1
Slide Left, Cir. L 3/4 w/new neighbors
Neighbor Swing
A2
R&L thru
Ladies Chain
B1
1/2 hey
Shadow Swing
B2
LL fwd & bk
Gents roll Shadow away
Partner Swing
Callers wanted.
I'm starting up a new series of traditional New England dances here at
Chapel Arts New England in Gorham, New Hampshire, about 8 miles north
of Mount Washington. We hope to have a dance the second Saturday of
each month, April through October. We have a group of local
instrumentalists getting ready to play, and need callers. We are
open to visiting groups also.
I realize NEFFA is a big draw, but I was wondering if anyone is
available for April 9.
So far May, June, July, September and October are also open.
Chapel Arts New England is a former Methodist Church, and the
parsonage next door is available for visiting musicians and/or callers
to stay, if they like, overnight.
--Marlena Schilke
Director, Chapel Arts New England
www.chapelartsne.com
cellphone 857-472-2869
messages 603-466-2129
The Medway Contra Dance series, at Christ Episcopal Church on School
Street in Medway, Massachusetts, will sponsor an Open Mike evening on
Saturday, March 5, 2005, 7:30 - 10:30 pm. This is the second of Medway's
open mike evenings that I have MC'd. The first evening was a great success,
introducing four people to their very first experiences in calling contras
for dancers. I have had far less response this time around from people who
would like to get behind the microphone.
So now's the time to talk to me if you'd like to participate! Contact me
if you're interested and we'll discuss the dances you'd like to call. Medway
is a small dance venue, a true community dance where anybody and everybody
may show up to dance - young and old, brand-new and experienced dancers.
Your dance choices should be at an easy to moderate dancing skill
level. The band will be Heathen Creek (this is a change from earlier posted
information).
For more information about the Medway dance, including the 2004-2005
schedule and directions to the hall, go to:
http://www.contradancelinks.com/medway.html
----------------------------------------------------
Robert Jon Golder
164 Maxfield Street robertgolder(a)comcast.net
New Bedford, MA 02740 (508) 999-2486 voice
Well, it's been a busy couple of weeks, and boy is my body letting me
know it. I've been laid up with a cold the last couple of days. So here
is what's been happening with the calling side of my life (I guess I
don't need to warn you by now that this is going to be a long e-mail):
New Voices
The New Voices dance was quite a success. All of us (Seth Seeger, Jenna
Watson, Cortni Frecha, Nathaniel Jack, Mark Jones and myself) did very
well. We had a good crowd (I estimated 60-70 people, Mark probably has a
better count) of experienced dancers. We also had great music by Mike
Ames, Lissa Schneckenberger (sp!) and Bruce Rosen, who were a delight to
work with on stage. My own personal breakthrough that night was that it
was the first time that I felt comfortable on-stage. Instead of my
nervous energy making me hesitant, I directed it into my calling. It was
a great feeling. I called two of my favorite dances that I hadn't called
before: Mary Cay's Reel and 333-33. I knew that 333-33 was going to be a
challenge, and it was. I worked hard with a form to work out the words
(which I created first). The form I used is attached if people are
interested. Then I practiced (mostly in the car) calling into a tape
recorder. The prep work really paid off at the dance.
Dance Flurry
The next weekend was the Dance Flurry in Saratoga Springs, NY. This is
one of my favorite dance festivals with lots of great dancing, workshops
and great people. There were 4 callers workshops during the festival and
each had their own focus.
The first was Joseph Pinmentel's workshop. He talked about the 3 stages
of being a caller: the first is where you're learning the basics (call
timing, word choice, parts/structure of the music, etc.), the second he
called "flight time" or practice time, and the third I think he called
the "process". The third stage was the focus of the workshop. The
"process" he was referring to was the cycle of feedback and learning
that happens when you're calling regularly. Specifically he put it in
terms of the observation cycle: take an action, observe the results,
decide what you think about the results, and back to the beginning with
taking another action. The part that he observed that most callers had
with this cycle was that the feedback was hard to filter away from the
junk around it. For example when someone comes up to you after a dance
and says: "you called a dance without a neighbor swing. Your calling
stinks." His suggestion was that you look for the kernel of good
information in any feedback you get. In the example, you take away the
information that calling a dance without a neighbor swing made a dancer
unhappy. Then you can decide if you're going to call a dance without a
neighbor swing the next time without the defensive reaction to the
statement. It also means that you can handle the situation better
because you can honestly thank the person for their useful feedback and
ignore the rest. Of course this is harder than it seems. The rest of the
workshop we got up and danced and had different people calling the
dances. Then we sat down and made observations and Joseph helped us pick
out the kernels of good information in the statements. The funniest
moment in the class was when one of the people in the workshop made an
observation about a session earlier in the day where the caller didn't
run the dances long enough. The observer didn't realize that the caller
at that session was Joseph. 8^) You'll see by the lengths of my
descriptions that this was my favorite workshop.
The next workshop was Rick Mohr's. He focused on the basics of timing
and word selection. He talked about timing the words to music in order
to end the call at the correct moment. He had some great handouts for
this and we all practiced with a fiddler.
On Sunday, the first workshop was Ralph Sweet teaching singing squares.
He talked about the differences in patter calling and singing and the
kind of prep work necessary for singers. Coordinating with the band
seems to be the most important one. If you don't practice it, then most
likely you won't be able to be flexible with the calling to make sure
that the dancers are promenading at the chorus. He has published a nice
book full of squares and music that has some great material in it.
The last workshop I was late for, since I was having great fun at Rick's
Squantras and Contrares session. Peter Amidon was running a workshop
where he reviewed a handout with a few basics about calling, dance
selection and responsibilities. He then opened the floor to questions
and discussion. Most of the questions had to to with resources like
where to find dances to call and e-mail discussion groups like ours. I
have included a scan of Peter's two sided sheet.
VFW
After the New Voices dance I was very surprised to receive an e-mail
from Sue Rosen inviting me to call at the VFW as part of NEFFA night (a
multi-caller evening that happens 3-4 times a year). I was floored. I
was nervous. I said yes (how could I say no?). Being a regular dancer at
the VFW, I know what a demanding venue it is. I requested that Sue put
me in the first slot (1st dance of the evening with the first and second
after the break). Then I had to find dances that would go over well
there. I knew that one of my dances after the break would be either Mary
Cay's or 333-33 since they're fun dances and I already had the calling
and teaching worked out for them. I remembered a recent discussion on
trad-dance-callers about "Easy yet interesting" dances that I could use
for the first dance of the evening, but I was at a loss for the last
one. The digital voice recorder that I had been using to collect dances
had gone through the washing machine in my shorts the weekend before,
erasing about a dozen dances that might have done the job. I spent the
whole flurry collecting dances, but they were either too hard or too
easy for the VFW. It wasn't until the last session that I danced on
Sunday afternoon that I found just the right dance for after the break:
Nils Fredland's Head of the Bed. For those who are interested, I have
put it at the end of the e-mail.
So I had 3 days to prepare after I had my dance selection for the
evening. I had a few other things going on in my life, so I didn't
prepare as much as I would have liked. On top of things, I was running
flat out all week and got hit hard with a cold on Thursday. So I was
pretty miserable when I showed up at the VFW that night. At this point I
would like to praise the nasal decongestant spray that I bought at the
last minute. It kept my nose and throat clear through the evening and
allowed me to call. The evening is a haze to me, though. Because of the
snow, Linda Leslie wasn't able to make it that night. For a while, it
looked like it was going to be Bob Golder and myself. Erica Weiss showed
up a dance or two before she was scheduled to go on. Sue called Rick
Mohr and he was able to come and call a couple of dances during the
second half. This pretty much blew the schedule out of the water, so I
ended up calling the first two dances of the evening and the first after
the break. I called The Casbah Queens by David McMullen (which I got off
the trad-dance-callers list) and Forgotten Treasure as my first two
dances. Then I called Head of the Bed as the first one after the break.
All of which went over well. My teaching on Head of the Bed didn't go as
well as I wanted it to (I was reaching the limits of energy and
medicine), but the experience of the dancers made up for it and the
dance was a success. Great music by Lise Brown, Dave Langford and Bruce
Rosen combined with good material and lots of experienced dancers made
up for any mistakes I might of made that night.
Thankfully, my fuzzy head that night made it impossible to be nervous
about calling at the VFW. A few people came up to me afterwards and
mentioned that they didn't even know that I was sick until I told them.
One of the unfortunate things about getting sick was that I had to turn
down all of my favorite dance partners as they came up to ask me to
dance while I was sitting out.
Epilog
I have also attached a handout from Tony Parkes' workshop at the Ralph
Page weekend for your enjoyment. Once again, I'm hoping that you are
enjoying these e-mails and that those of you who are thinking about
taking the leap into calling are inspired to take another step.
All the best,
Chris Weiler
Head of the Bed
Nils Fredland
Becket
A1
Slide Left, Cir. L 3/4 w/new neighbors
Neighbor Swing
A2
R&L thru
Ladies Chain
B1
1/2 hey
Shadow Swing
B2
LL fwd & bk
Gents roll Shadow away
Partner Swing
